This publication is based on the following documentations of TURN projectfrom January to December 2019.
The information is current as of December 31, 2019.

TURN Official Website

Project Diaries written by people involved in TURN,

Timeline pageposted on TURN s official website.
https://turn-project.com/timeline

Transcribed data●

TURN Meeting (No. 7– No. 9)Open forum for exchanging opinions and sharing
experiences of TURN with people from various
expertise and backgrounds. Including extracts
from 7th Meething held at Tokyo Metropolitan Art
Museum on February 2, and our 8th and 9th
Meeting both held at Tokyo University of the Arts
on May 12 and November 17.

●

TURN FES 5

An interactive event held at Tokyo Metropolitan
Art Museum on August 16 – 18 and 20.
The event includes talk sessions, stage
performances, tours and many other contents.

Other

●

Notes written by TURN FES 5 Supporters●

Notes taken during meetings with people

involved in TURN●

Daily activity reports and notes made by those

involved that are not published on TURN official
website, etc.

Sumiko Yanai

From TURN FES 5 Supporter Notes(TURN FES 5 Supporter)

August 17, 2019

Just get involved and see
Rather than trying to understand everything beforehand, you just haveto get involved and see. I realized that this in itself broadens yourhorizons and makes you feel more at ease.

Robert Campbell

From TURN Meeting No. 7

Eri Ishikawa

From the review meeting for An(Scholar of Japanese literature/

February 2, 2019

(General Secretariat, NPO

Empathetic Tour Created by Everyone

Director-General of the National

Theatre Accessibility network)

Institute of Japanese Literature)

Including People Who Can t See andPeople Who Can t Hear, TURN FES 5
September 25, 2019

Something like an invisible sheathI m male, white and arrived in Japan with a high level of education, so
personally I don t feel any major difficulties in living here. While there
might be opportunities lost which I can t see or weren t given to me

A variety of methods

because I m gay or because I m a foreigner, nobody s throwing stones
at me. However, I have occasionally come to feel unspoken tensions in

Getting people to understand the concept of failing to communicate.

some aspects of life here, that there may be walls, or rather somethingThrough this tour, I want to communicate to people that there are alike an invisible sheath between me and those who surround me. How

variety of methods for communicating and enjoyment to be gained if

can we overcome these obstacles through art or expression, andeveryone strives to communicate even within a situation where there

through the TURN project? Or should we just get used to them?

are limitations.

Kenji Shiratori

From Tour Art Appreciation that Emerges

Keisuke Shimakage

From Talk Case Study Presentation(Blind arts enthusiast)from Conversation, TURN FES 5(Founder, OTON GLASS /(OTON GLASS / FabBiotope), TURN FES 5

August 17, 2019

FabBiotope)

August 16, 2019

*Masataka Baba: Architect and Director of Real
Public Estate. Baba is visually impaired.

It s not a big deal whether you can see or not
Sighted people perhaps think that you can understand everything if you
see something, but even if you can see, I think that there are things thatyou can t understand unless you try to look for them.
From the perspective of a non-sighted person, there s an unconscious
preconception that people who can see without conscious effort

Something like threading a needle

understand everything because they can see, whereas there s a lot that
I don t understand because I can t see.

Mr. Baba* said, Don t you think ideas and solutions that are like

But when appreciating art in this way (like today), I often think, Oh, they

threading a needle seem to have a certain universality? I was certainly

don t understand it, even though they can see it and They can see it,

surprised to discover this outlook on the world. It s not simply about

but what they are looking at is totally different.

being told, There s this problem and it ll definitely be efficient if we

In fact, while there are situations in which whether or not you can see

solve this obvious problem in this way. Rather than something whichmakes a big difference, when it comes to this kind of art appreciation,

solves already self-evident problems, it s about the diversity that has

it s not such a big deal whether you can see or not. That s what you

been overlooked despite its existence. Through threading the needle

come to realize.

we can show that this kind of diversity has actually existed all along.

Shinji Kajitani

From TURN Meeting No. 8

Macheedef

From Stage Performance TURN Rap

(Professor, Graduate School of Arts

May 12, 2019

(Rapper)Showcase* (lyrics to From a Close Call

Komone Fukushien

to a Glimmering Moment by Komone(Disability Welfare

Fukushien), TURN FES 5

Organization)

August 18, 2019

and Sciences, University of Tokyo)*TURN Rap Showcase: Rapper Macheedef
created new rap songs after interviewing facility
users and staff at the places he visited as part of
the TURN Interactive program. The facility users
and staff then performed these songs on stage
themselves.

Eliminating categorization
In philosophical dialogue, the way people introduce themselves isdifferent than usual. For example, you don t have to use your real name.
You could say, I m Carrot. You don t have to mention your status.
The moment someone says, I work at a bank, people can get a
preconception that they must be a dependable person. Nor do you need

From a Close Call to a Glimmering Moment

to state your age. Plus, even if you say your name when introducing
yourself, people never remember it, anyway. Instead, we get people toThat day I felt so blue

answer everyday questions like, What s your favorite food? . By doing

Shut myself up in my room

this, we get a better picture of that person s personality, which canThen Ms. Matsuda showed up

serve as their self-introduction. Even if you can t remember someone s

And said to me straight out

name, you can remember what they like. This, in a sense, is the task of

Hi, I m Lady Gaga

eliminating categorization. If we do that, we can have a dialogue with

And then it all changed

that person s actual self.

From a close call to a glimmering moment

Kazue Kawase

From TURN FES 5 Artist Talk

Ryo AbeFrom TURN Meeting No. 9(Photographer)

August 18, 2019(Architect)

November 17, 2019

*Masahiro Takahashi: User of Recycled
Bottle Washing Center, a work center for people
with disabilities.

Communication which isn t like that
They decide on their own poses, so I might be able to loosen up.
Right now I kind of feel that communicating through taking
photographs is a bit like cheating.

How much I can mix in other people andpartners in dialogue

Mr. Takahashi s* face changes when I say, I m going to take apicture. ...I think in many ways, they re replying to me when I point

What I want to do now is look at how much I can mix other people andmy camera at them, but I d also like to engage with them throughpartners in dialogue into the process of creating and get them involved.

other forms of communication.

That s one of the things I want to do in various projects.

Makito Momota

From Talk Perspectives on Being a Family

Emi Tomizuka

From a social media post by Tomizuka(Company Employee)

Member of Someone with a Disability(Artist)August 22, 2019(OTON GLASS / FabBiotope), TURN FES 5
August 17, 2019A space for killing time together
Interaction with deafblind people made me completely and painfully
aware of the complexities and difficulties of expression, to the extent
that I even forgot about discussion of freedom of expression or lackthereof over the course of the history of visual arts and audio arts.
Just spending time with people whose way of life is based on different
perceptions felt miraculous. We have to express ourselves to eachother in order to build environments that offer peace of mind andrelationships that allow us to trust each other, but I gained a very real
sense that expressing ourselves to each other involves courage and risk

Being able to notice naturally

for everyone and, as soon as we become aware of important things,
a lot of hurt as well.

Because society inevitably thinks in terms of efficiency, we have created

The plan was to just kill time together, but we were moved, shared thepeople with disabilities and tend not to notice themsame dreams, but on the other hand were hurt; we experienced hate,

this category of(people with disabilities) who are around us. That s why I think it s reallywere encouraged, got exhausted and fell asleep, sometimes became

important to create an environment where we re better able to notice

vigilant, were anxious, helped each other out ... time passed in thisthem more naturally.

complicated and peaceful way.

Katsunori Shinzawa

From Talk Seminar 3: Creating yourself,

Tetsu Akaogi

From Talk The Affinity Between Art,

(Manager of Harmony)

TURN FES 5(Founder, atelier A)

Soccer, and TURN, TURN FES 5

August 17, 2019

August 16, 2019

Both sides of the line
The band Love Ero Peace has eight diverse members and I play guitar
for them, as they were kind enough to invite me to join them.
There ve been times when I asked myself whether it s really okay for me
to be up there on stage with them, who use wheelchairs, to voice our

Preconceptions

opposition to discrimination. I m not registered disabled myself and it
would be easy for them to say, Well, what does he know, as an able-

When I first started I passed on the information that I had asked thebodied person? One of the songs written by the band s leader andparents and guardians regarding the participants disabilities to the staff

frontman Yuji is titled Normal. He positions himself on both sides of themembers. But then I realized that it led to needless preconceptions.

line demarcating normal, singing that I desire the normal,

So now, even when someone new takes part, we just sit next to them,

I pursue the normal,

engage them in conversation, and draw pictures with them.

I flirt with the normal, and he says I msinging that people shouldn t discriminate, but maybe I m discriminating
as well,I envy the normal.

Because of those words, I felt a great

sense of relief, or that I had found a place where I fit in.

There haven t been any problems as a result, and watching thenervousness on both sides ̶ staff members and participants alike ̶
on meeting each other for the first time, is really interesting...

Rika Takahashi

From Talk Siblings of People with Disabilities:

Maria Hata

From Talk Physical Recreation, Dancing(Staff member at Sendai

Perspectives on Disability, Society and(Staff member of Arts

with Expressions, TURN FES 5Mediatheque)Themselves from Those Who Are Neither

Council Tokyo)

August 18, 2019

Parents Nor Friends, TURN FES 5
August 20, 2019

The term siblings of people with disabilities
I m speaking as a sibling of a person with disabilities for the first time,
but I feel a bit uncomfortable about the grouping created by this term.
I feel that, by grouping young people with disabilities as children with

Waiting cannot happen alone

disabilities and people whose siblings have disabilities as siblingsof people with disabilities, there is a danger that we will shut off the

Waiting is not something that involves just one person: you have to

two groups from each other, even if their suffering is shared. I want tobe conscious of others for it to happen. I believe this is also linked to

expand our framework to encompass siblings in general, regardless of

thinking that a space is composed of various people. And I believe thatwhether or not they have disabilities. Even siblings without disabilities

this leads to thinking about relating to others through our bodies, facing

experience problems and conflict, so I think it would be good if weup to things one at a time, considering who is in the space, and evencould share those more evenly.

who is in society itself.

Shogo Nunoshita

From TURN in TUCUMAN,

Katsuhiko Hibino

From Talk TURN and BIENALSUR:(Craft Artist)

BIENALSUR Daily Report(TURN Director / Artist)

Chance Encounters Between People

May 29, 2019and Pathways, TURN FES 5
August 20, 2019

Art s closeness to everyday life
Art is part of people s daily lives. Art s closeness to everyday life.
I believe that a major reason why art became an academic discipline
here in Japan was that Western art entered the country during the Meiji

Materials are a language that transcend borders

period in the form of artworks entirely divorced from the backgroundthat spawned them. Universities of art were created because it had

I can t communicate in words with Sergio, who I met today for the first

become an academic discipline, so there was a willingness to study

time. However, when we re both touching clay, we can communicateart. But art in the form of an awareness and sense of beauty alreadynaturally. I got the feeling that materials can be a language thatexisted within people s everyday lives. Art is art precisely because it istranscends borders.

a product created in the course of people s lives.

Takayuki Shiose

From Talk IN-Accessibility: Achieving

Chikara Matsumoto

From Exhaustively Looking, Timeline page

(Associate Professor, The

Accessibility through Consideration of(Artist)March 13, 2019

Kyoto University Museum)Social Exclusion, TURN FES 5
August 16, 2019

Compelling thoughts
When I was asked what I wanted to do in the future, the words I want
my own voice , popped out of my mouth. The person I was talking to

A person who is made Disabledlaughed and even I thought it was funny. I was surprised. I want to live
up to my words and expand my activities. When I say it like that, I guess

I became aware of a fresh perspective: that the things that engineers

it means I still haven t managed to do it.

and designers can do will increase if we switch the term used toI wonder what expression really is. It s got to involve more compelling

describe people with disabilities (in Japanese) from disable person

thoughts than mere likes and dislikes. I plan to continue speaking up like(a person who is unable do something) to a

I have until now, however shyly.

prevented from being able to do something).

disabled person (person who is

Someone else might be thinking the same things that others have thought.

Laila Cassim

From TURN Meeting No. 8

Wakayo Takahashi

From TURN FES 5 Supporter Notes(TURN Project Designer)

May 12, 2019

(TURN FES 5 Supporter)

August 20, 2019

*Exchange with a tour participant. As part of aninteractive workshop artist Tomoko Iwata createdfine wrinkles made on paper where seen as lines
on a map. Participants imagined the sceneryaround them while looking at the piece of paperin their hand.

Accessing one s inner senses
I think there s something much more urgent to which we need greater
access before food, clothing, housing and education: to access one s

What can you see ?

inner senses.
Everyone has sensations and emotions that arise from their physicalWhat can you see along the way?

experiences, but I believe that it s only when we access and engage

Did you have fun on the journey or was it hard going?

with them that we really understand our position in the world and the... I was astonished when I got the response,

possibilities of what we can do.

There was a breeze, it felt good.

Masanori Ikeda

From TURN FES 5 Artist Talk

Miyuki Tanaka

From Talk IN-Accessibility: Achieving(Photographer)

August 18, 2019

(Curator / Producer)

Accessibility through Consideration of Social
Exclusion,*Recycled Bottle Washing Center: A work

TURN FES 5

August 16, 2019

center for people with disabilities run by social
welfare service corporation Kyosaren. Locatedin Akishima City, this facility provides vocational
support for people with disabilities, primarily
focusing on bottle washing.
**Shure University: Located in Shinjuku Ward,
this alternative university is attended by students
with social withdrawal or truancy issues andexplores links between people and societies.

First, you need to open up
Rakugo storyteller Shofukutei Tsurube said in a magazine interview
that Unless you open up your own heart first, it s difficult to see into
other people s hearts! But it s not good to open up too much, either.

The presence of one person
who can t visually see

It was the same for us, too. When we visited the Recycled Bottle
Washing Center* or when we met with Mr. Asakura from Shure

It s interesting that the presence (when shooting the film Night Cruising) of

University**, one of the key points was that the people from theseone person who cannot see (within the team) means that sighted people

organizations opened up and worked with us outsiders. As atend to make more effort than usual to communicate things to one

photographer, it s my job to knock on doors and meet people. What I

another about situations and things in front of them. Thinking about it

try to do in that situation is to open myself up first, as far as possible,

this way, I believe that sighted people usually think as if they have shared

like Mr. Tsurube said.

something simply because the situation is literally visible to them.

Tsukasa Mori

From Talk Not Changing the Way

Takashi Otsuka

From Stage Performance(TURN Project Director)

Things Change (OTON GLASS/(Bar Owner)

Contest ̶ Let s Talk About Sex, TURN FES 5

FabBiotope), TURN FES 5

YES! FUTURE Song

August 17, 2019

August 20, 2019

I couldn t find any words
It was when I met Atsushi Mori, who is deafblind. When meeting face to

We can do it if the two of us work together

face with him, someone who can t see nor can t hear, I couldn t find any
words (to communicate to him) for about half an hour.

(After seeing the performance by Monky Takano and Yumiko Takashima)…I just wasn t able to imagine how to approach meeting someone for

I ve seen sign language and sign interpreting many times before, but

the first time, when I couldn t speak to them or even use written words.

this isn t simply just sign language and interpreting, it s something that

In fact, as the conversation progressed with the aid of sign language

unites these two people into one. That in itself is a performance.

interpreting and a device, I found that he didn t feel anything was

I m really interested in same-sex partnerships and minority partnerships,

missing. He has a completed solid perspective on the world, with noand I feel that they showed me something rather wonderful. It s likesense of deprivation about not being able to see or hear. When you rethere are things that are hard to do in life if you re on your own, but

simply communicating, you don t notice his disability. It was a truly

we can do it if the two of us work together. I really feel that I ve seen

fascinating experience.

something great today.

Toru Koyamada

From Talk

Julia Cassim

From Talk IN-Accessibility: Achieving(Artist / Professor, Faculty of Fine

Inspiring Autonomous Learning for Each(Specially Appointed

Accessibility through Consideration of Social

Arts, Kyoto City University of Arts)

Individual,

Professor, Kyoto Institute of

Exclusion, TURN FES 5

Technology)

August 16, 2019

Diverse Approaches to
TURN FES 5

August 18, 2019

Don t just interact with similar groups
representing people with disabilities
I want government and organizations to give greater recognition to thediversity within disability. For example, when embarking on initiatives
focused on inclusion or diversity, there s a tendency to go straightto specific established organizations or groups representing people withdisabilities. Society in general and the public sector, overlook the social

The ability to reinterpret the problem and turn it
into something elseand cultural diversity within disability itself, focusing instead on genericgroups rather than individuals and favouring the older generation ofpeople with disabilities over the young.
When I first came to Japan in 1971, the non-profit and voluntary sector

Looking at the actual good points or finding the strengths of the child in

was just emerging. But now things are different. I look at TURN and

front of you rather than just mollycoddling them. Children in particular

see that it is brimming with youth and fun. So (in order that this kind of

can tell immediately whether or not you have that attitude. For adults,

place can be created elsewhere as well), what I want to ask to public sector

what s being tested there is their ability to reinterpret the problem andbodies and organizations is to engage with a wider more diverseturn it into something else.

range of people.

Eri Makihara

From TURN Meeting No. 7

Love Ero Peace

From Stage Performance(President, Rou no toriFebruary 2, 2019

(Outsider Folk Punk Band)

Opening Night, TURN FES 5

Productions / Film Director)

August 16, 2019

*Extract from the lyrics of Classmate
Writer: Ojaman Yuji
Composer: Sugawara Nyoki

The term listening cultureFirst and foremost, sign language is a language in itself. It s different
than the languages used by hearing people. And the various ways of

Cut off from their own wishes

thinking, customs and activities of deaf people in daily life differ fromthose of hearing people. We are visual people, or rather, we have

The world has changed

judged everything with our eyes, in many ways.

We can use low-floor buses

Among ourselves, we used the term listening culture,

but when we

Train stations now have elevators

ask hearing people What s listening culture like? , they seem to getvery puzzled. Diversity actually encompasses hearing people as well:But when my classmate s mom got injured

I think that they too are part of diversity.

They got shut away in a house on a hill

While deaf people are the main focus at the Tokyo Deaf Film Festival,
we also work with hearing people. When doing so, we think about what

Cut off from friends, cut off from family

listening culture actually is, noticing for ourselves the kind of things thatCut off from their own wishes

it includes.

Cut off, cut off, cut off

Yuichiro Nagatsu

From Lecture in/ex-clusion: considering

Takaya Matsuda

From TURN Meeting No. 8(Assistant Professor, Faculty ofa place for us, TURN FES 5(Representative Director,

May 12, 2019

Design, Kyushu University)

August 17, 2019

HERALBONY / Director, MIRAIGENGO)

The assumption that
we can t understand one anotherWe have to do it together

We communicate with each other in various ways, based on theassumption that we can understand one another. However, if, for

Whether you are part of a minority or a majority changes according

example, we keep communicating, thinking that we can understand one

to your situation, position and the place where you are, so attitudes

another, when we reach the point where we re not able to understandlike people with disabilities just need to cheer up don t make sense.

one another, the sense of community between the people unable to

All kinds of people are minorities and majorities, so I think we haveunderstand each other vanishes. If we face up to the assumption thatto do it together, being empowered by each other and changing each

we cannot understand one another 100%, I believe we can sustain that

other s awareness.

sense of community.

Rio Sekiba

From Orientation

Hiromichi Sato

From Talk Physical Recreation, Dancing(Guide at Dialog in the Dark)

for TURN FES 5 Supporters(Staff member of Tanpopo-No-

with Expressions, TURN FES 5

August 2, 2019

Ye Art Center HANA)

August 18, 2019

Having others convey
what I can t know for myself
Programs change
I think very few visually impaired people are unfamiliar with color.
The everyday world is full of color and there is information from

Programs change, depending on what attracts workshop participants

the people all around us. Given that nobody lives entirely without ainterest. And that s fine. Some (participants) just attend and then leave.

knowledge of color, I find having people describe in words what they re

If they leave, we look on their leaving as perhaps a kind of dance.

seeing is effective, absolutely wonderful, in fact. It s great to have

It reminded me of a public bath. It s not necessarily the case that

others convey what I can t fully know for myself.

someone (in the workshop) is there because they want to dance.

Keisuke Shimakage

From Talk Inclusive Design in the Future

Yumi Okubo

From Birthday Party for August,(Founder, OTON GLASS /(OTON GLASS / FabBiotope), TURN FES 5(Dancer)

Timeline page

FabBiotope)

August 17, 2019

August 9, 2019

Natural reaction
Their reactions to winning or losing are subtle: no obvious sign of being
annoyed if they lose, nor rejoicing if they win. Nevertheless, they seemto be having fun. But my own natural reaction is probably something
like that. I d expected that most of them would be upset if they lost, likemost children are. The last time I was included in this event, I made aInventions of diversity

point of looking my opponent in the eye and went a little over the top incelebrating when winning. Although I didn t do anything bad, I feel a bit

I want to call the diversity that an individual has or the tools that allow

ashamed when I think back on it now. (Laughs)

their individuality to exist unaltered inventions of diversity.

I became aware that, to some extent, I m performing the role of Yumi.

Sachie Takiguchi

From Talk TURN in All Kinds of Places

Ruth Mariet Trueba

From TURN in HAVANA Daily Report(Project Worker)

on Earth, TURN FES 5(Artist)March 14, 2019

August 20, 2019

*Monte Azul: A facility providing Support for people withdisabilities in Brazil, with which Takiguchi took part in the
TURN Interactive program with.

The beauty of places with diversity(At Monte Azul*) there was a cultural facility and an after-school childcare

facility within the same small site, so all kinds of people mix with eachother and interact on a daily basis. It s a bit chaotic, but this oddly
pleasant scene is seared into my memory. In Japan, these would

Affective Relationships

generally be discreet facilities separated by walls, giving greater
tendency for a gap between people you encounter and people you

The traditional techniques had not come alive until we began to create

don t encounter in daily life, but here it was totally different. It s diverse,

affective relationships within the group. Perhaps this is why these

inefficient and endearing. I have the feeling that I was given an object

traditions have been transmitted from one generation to another andlesson experiencing the beauty of places with diversity.

that is the way they survive.

Takayuki Nakahama

From Talk(Board of Directors, NPO Ubdobe /Education and Welfare in Japan in

Director, Gran Arc Mizuho Senior

2029,

Nursing Home)

August 20, 2019

People of the Future:

Satoko Fujioka

From TURN Meeting No. 9(Welfare Environment Designer)

November 17, 2019

TURN FES 5*Katsuyama: A region in Fukui Prefecture, Japan

Changing the focus of the spotlight
What I thought was amazing was that if we change the way we focus
the spotlight on people with dementia, we discover that someone who
had appeared simply an elderly man in a care home is actually a person
who knows the region really well. One elderly guy in Katsuyama* said,
In Katsuyama, every single man had a decent kitchen knife and backin the day, it was the man s job to use it to fillet big fish and wild game,

Rebuilding Welfare

you know. And as he was speaking, his personality was really comingout because it is he and others like him had passed this culture on that

When thinking about whatrebuilding welfare actually is, I realized

this region is the way it is today.

that it means changing the flow of people who are there.

Katsuya Ise

From Thinking About the Things(Artist / Professor, Joshibi University

I ve Seen This Year, Timeline pageof Art and Design Junior College)

June 15, 2019

Having an inner diversity
A single individual has a variety of different facets within them. For
myself, there s myself as an artist, myself as a Japanese national,
myself as a human, myself as a father... We have to accept that eveneach individual s identity encompasses an inner diversity. People
with disabilities and people in the world called social minorities are
simultaneously part of society, male or female, humans, people who livein one country or another... I felt that sort of thing really strongly. And
art can t exist without a society that accepts a variety of diversities.
We (as artists) are a minority in Japan.
... And in that, we re no different from all the people we interact
with in TURN.

including nature, artificial creations and media

objets, among other activities.

spaces. He has participated in TURN since 2017,–––––––––––––––––––––––––––––––––––

schools.

interacting and working with Momosan Fureai no

Shinji Kajitani–––––––––––––––––––––––––––––––––––

Ie ̶ a day service center for elderly people.

Professor, Graduate School of Arts and Sciences,

Keisuke Shimakage–––––––––––––––––––––––––––––––––––

University of Tokyo | Practitioner of Inclusive

Founder, OTON GLASS / FabBiotope | Began

Masanori Ikeda

Philosophy, in which participants engage in freedeveloping the Oton Glass spectacles, which

Photographer | Ikeda has been a regular visitor

discussion on a single theme. Kajitani practices

convert text to speech, after his father developed

to Recycled Bottle Washing Center as part ofactivities focused on creating places for thinking

the visual agnosia. Focusing on the living

the TURN Interactive Program* since 2015.

together in school education, local communities

environments visualized by each person ̶–––––––––––––––––––––––––––––––––––In 2019, he visited the center together withand the like, while emphasizing on creating an

first and foremost, visually impaired people ̶

Tetsu Akaogi

students from Shure University, engaging andequal ground relationships in doing so.

and individual preferences, Shimakage strives

Founder, atelier A | Akaogi runs painting classes

interacting through photography. At TURN–––––––––––––––––––––––––––––––––––

to develop inventions and environments that will

mainly for children with Down syndrome and

FES 5*, he exhibited and gave a talk basedKazue Kawasetranslate their ideas and preferences into reality.

autism, as well as Able FC soccer team. Sinceon the photographs, he and the students took,

Photographer | Kawase takes photographs on

At TURN FES 5*, he planned six public talks and2017, artists participating in TURN have visited

documenting their interaction with people from

impulse, without deciding on a theme, and, while

an exhibit exploring the possibilities offered byatelier A regularly to interact with members of

the center.

editing them, produces works that explore the

manufacturing.

Atelier A.

–––––––––––––––––––––––––––––––––––

reasons behind them. She has been participating––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Komone Fukushien

in TURN since 2015, engaging in interaction at

Julia Cassim

Ryo AbeDisability Welfare Organization | Day care

Recycled Bottle Washing Center and Group home

Specially Appointed Professor, Kyoto Institute ofArchitect | Involved with projects that spancenter providing living care and the employment

Flower along with Masanori Ikeda.

Technology | Plans projects, crates exhibitions

multiple realms, including welfare, child-rearing,

continuation support (type B) service. They have–––––––––––––––––––––––––––––––––––

and runs workshops aimed at sharing skills andtourism, and migration. Among these is Shima

been involved in TURN Interactive program*

Toru Koyamada

knowledge from the perspective of inclusive

Kitchen, a project aimed at creating a venue forsince 2015 and TURN LAND* from 2017,

Artist / Professor, Faculty of Fine Arts, Kyoto City

design. She was involved in setting up D-Lab

encounters that connect people through foodcollaborating and executing projects with various

University of Arts | Until 1998, Koyamada was inat Kyoto Institute of Technology in 2014 andand art. Abe creates the foundations to revitalize

artists.

charge of scenic design and stage management

undertakes many interdisciplinary design projects

regions designing places for communities to–––––––––––––––––––––––––––––––––––

for the performance group Dumb Type . Whilein Japan and internationally.

become visible for all.

Yumi Okubo

creating various co-sharing spaces, in recent––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Dancer | Okubo, served as a sketch model at theyears he has been developing projects such as

Kenji Shiratori

Eri Ishikawa

artist Katsuya Ise s Symbiotic Studio at TURN

Weekend café and Chibihi, which attempt toBlind arts enthusiast | At TURN FES 5*, Shiratori

General Secretariat, NPO Theatre Accessibility

FES 4* in 2018. Since 2019, she has beencreate places centered around bonfires.

conducted a tour in which blind and sighted

network | Ishikawa organises activities which

participating in the TURN Interactive Program*,–––––––––––––––––––––––––––––––––––

people chatted in front of artworks. He explores

enable people with disabilities to provide support

visiting the Kamimachi Kobo support facility for

Hiromichi Satoa variety of approaches to art appreciation.

and engagement for inclusive theatre going.

people with disabilities together with Latin music

Staff member of Tanpopo-No-Ye Art Center–––––––––––––––––––––––––––––––––––She also serves as a accessibility coordinator forband La Maña.

HANA | Involved in running a community art

Katsunori Shinzawa

TURN project. At TURN FES 5*, she planned a–––––––––––––––––––––––––––––––––––

center where everyone can express themselves

Manager of Harmony | Shinzawa runs Harmony

tour with Rio Sekiba, who is blind.

Takashi Otsuka

freely through art and share each other s

as a facility or rather place where people living–––––––––––––––––––––––––––––––––––Bar Owner | Participated in TURN FES 5* assensibilities. Sato also coordinates physicalwith mental illnesses can spend time as they

Katsuya Ise

a commentator at The Song Contest YES!

workshops that utilize drama and dance.

choose. He has participated in TURN since

Artist / Professor, Joshibi University of Art and

FUTURE ̶ Let s Talk About Sex, which was–––––––––––––––––––––––––––––––––––

2015. From 2017, Harmony started participating

Design Junior College | Ise produces artworks

organized by Madame Bonjour JohnJ. As well

Takayuki Shiose

in TURN LAND*, actively planning and executing

based on forms composed of objects and images

as running the bar that he owns in Shinjuku-

Associate Professor, The Kyoto University

projects in partnership with artists such asthat arise and exist in various environments,

sanchome, Otsuka paints pictures and makes

Museum | Shiose conducts research focused

Takafumi Fukasawa and Laila Cassim.

Profileon inclusive design practices in museums andRio Sekibaarts management, cultural policy studies and the

Takaya Matsuda

period literature, with a particular focus on mid-

Guide at Dialog in the Dark | Sekiba who is blind,sociology of art.

Representative Director, HERALBONY/ Director,

Edo to Meiji period art, thought and literaturefacilitates activities that provide experiences and–––––––––––––––––––––––––––––––––––MIRAI GENGO | Involved in activities including

written in classical Chinese.

encounters which use senses other than vision.

Takayuki Nakahama

the experimental welfare unit Heralbony–––––––––––––––––––––––––––––––––––At TURN FES 5*, she planned a tour with Eri

Board of Directors, NPO Ubdobe /Director,

and MIRAI GENGO, which aims to think of

Katsuhiko Hibino

Ishikawa, who is deaf.

Gran Arc Mizuho Senior Nursing Home forcommunication 100 years from now. By branding

TURN Director /Artist | Has served as director–––––––––––––––––––––––––––––––––––

the Aged Certified care worker | Nakahama

the creativity of people with learning disabilities,

of TURN since its inception in Tokyo in 2015.

Wakayo Takahashi

initiates activities aimed at achieving the active

he aims to propose and present new values

Hibino serves as Dean of the Faculty of Fine Arts

TURN FES 5 Supporter | Participated in TURN

social engagement of all kinds of people throughtowards society.

and Professor in the Department of Intermedia

FES 5 as a supporter.

medical and welfare entertainment.

–––––––––––––––––––––––––––––––––––

Art at Tokyo University of the Arts. He also holds––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Chikara Matsumoto

the post of Director of the Museum of Fine Arts,

Rika Takahashi

Shogo Nunoshita

Artist | Painter, film-maker and animator.

Gifu and chairs the Japan Football Association s

Staff member of Sendai Mediatheque | FacilitatedCraft Artist | Currently enrolled on the Graduate

Matsumoto has participated in TURN since 2018

Social Contribution Committee.

The Sister Tour at TURN FES 4* in 2018.

School of Fine Arts doctoral program in crafts

and interacting with children through animation,–––––––––––––––––––––––––––––––––––

Takahashi has an older sister with autism.

(ceramics) at Tokyo University of the Arts.

at Kanamachi Gakuen, a residential welfare

Tsukasa Mori–––––––––––––––––––––––––––––––––––

Nunoshita participated in TURN in TUCUMAN,

facility for children with hearing impairments.

TURN Project Director | Program Director

Sachie Takiguchi

BIENALSUR* in northern Argentina in 2019.

–––––––––––––––––––––––––––––––––––of the Project Coordination Division at Arts

Project Worker | Participated in TURN in–––––––––––––––––––––––––––––––––––

Makito Momota

Council Tokyo. As director, Mori plans and

BRAZIL* in 2016 as a workshop facilitator.

Satoko Fujioka

Company Employee | Momota was a guest of aruns art projects in partnership with NPOs

Takiguchi plans, produces and initiates projects

Welfare Environment Designer | Fujioka istalk held at TURN FES 5*. He lives with his son,and other organizations, as well as working on

based in Tokyo s Sumida Ward.

currently attempting to turn a home medical care

who is visually impaired.

human resource development and research and–––––––––––––––––––––––––––––––––––

center in the town of Karuizawa into a place that–––––––––––––––––––––––––––––––––––

development projects.

Miyuki Tanaka

generates flows of people like a living organism,

Sumiko Yanai–––––––––––––––––––––––––––––––––––

Maria Hata

Curator / Producer | Tanaka regards disability as

naming it a care and culture center. In 2019,

TURN FES 5 Supporter | Participated in TURN

a perspective which enables perceiving the world

she launched (something akin to) a home nursing

FES 5* as a supporter.

Staff member of Arts Council Tokyo | Has beenin new ways and adopts an approach not boundstation. In 2020, she will open Hocchi-no-Lodge,–––––––––––––––––––––––––––––––––––

involved in TURN since 2016 is interested inby categories.

which will have a clinic and a large kitchen.

Love Ero Peace

cultural policy and art projects undertaken in––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Outsider Folk Punk Band | A band that questions

partnership with local citizens.

Emi Tomizuka

Eri Makihara

discriminatory attitudes. Katsunori Shinzawa,–––––––––––––––––––––––––––––––––––

Artist | Founded Yanaka-no-okatte and engages

President, Rou no tori Productions / Filmdirector of Harmony, a facility for people with

Laila Cassim

in planning and running art projects as its

Director | Deaf film director. Founded the Tokyo

mental health issues, is one of the members.

TURN Project Designer | Using her expertise

director. Tomizuka has participated in TURN

International Deaf Film Festival in 2017. At–––––––––––––––––––––––––––––––––––

as a designer in disability welfare environment

since 2015 and at TURN FES 5*, created a

TURN FES 5*, she planned and facilitated a

Ruth Mariet Trueba

and fields, Cassim creates artworks together

space for the purpose of killing time throughfilm-making workshop for deaf students in

Artist | From Cuba. Participated in TURN inwith members and support staff at facilities,

dialogue with deafblind people.

secondary and higher education.

HAVANA* in 2019. Trueba produces works on

developing design products based on those––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

the theme of memory, using handicrafts andartworks, which are sustainable in production.

Yuichiro Nagatsu

Macheedef

traditional techniques.

She also runs and plans similar workshops, both

Assistant Professor, Faculty of Design, Kyushu

Rapper | Writes lyrics for commercials, advises–––––––––––––––––––––––––––––––––––

within Japan and overseas.

University | Conducts research focused

Raps for Television and also works as a Rap

Robert Campbell–––––––––––––––––––––––––––––––––––

on the expressive activities of people with

Creator. Participating in TURN from 2019, he is

Scholar of Japanese literature /Director-Generaldiverse backgrounds, including people withcurrently interacting with Sakuranbo Disabilityof the National Institute of Japanese Literature |*Refer to About TURN for detailed description of

disabilities basing his studies on the fields of

Welfare Home.

Campbell conducts research into Edo and Meiji

each project / event.

About TURN NOTE
The first volume of TURN NOTE was published in 2016.
This volume will be our fourth.
Our editorial policy of presenting the book, which wevalue every year is not to rephrase the words of people
who are involved with TURN. Along with all theirdiscoveries, conflicts, hunches and thoughts from various
situations, we value to record and present words thatprovide a sense of the speaker or writer s personality.
Not only that, we also aim to present the distinctive
features of the space they are in, while also replicating theactual moment when those words were said or written.
Through these efforts, this volume of TURN NOTE has,like its predecessors, become something that provides
the reader with a sense of how TURN activities have
expanded and evolved, sometimes in conjunction withsociety itself.
We hope that the diverse viewpoints gathered in thispublication will help readers gain a sense of TURN in
2019 and assist them in considering the importance of

creativity and diverse societies.

TURN Interactive ProgramThis cooperative program provides repeated opportunities for encounters and mutualinteraction between artists and social welfare facilities as well as communities ofpeople requiring various forms of social support. Artists in the program also carry

ABOUT TURN

out research to explore phenomena not readily apparent in society and daily life.

TURN LANDSOCIALLY INCLUSIVE ART PRACTICE PROJECT

In this program, social welfare facilities and communities plan participatory
programs together with artists. Added to the sites original functions is a differentrole as a cultural facility open to the community where members of the public cangather, creating a setting for the day-to-day implementation of TURN.

TURN is the umbrella term for an art project that intends to bring

TURN FES

creative interaction through encounters among people, transcending

In this festival, the activities of diverse artists and partner facilities and communities

differences in customs background, such as disabled/non disabled,that carry out the TURN Interactive Program and TURN LAND come together undergeneration, gender, nationality and living environment.

one roof. Visitors experience TURN close up through displays of creative work,

Over 70 artists, and 60 facilities and communities have participatedworkshops, speaking events, original programs and more.

until now. Based on various programs unfolding throughout year,
practicing both widely across Japan and abroad.

TURN Meeting
This is a setting for sharing, speaking about and considering the possibilities ofSupervisor: Katsuhiko Hibino (Artist /Dean of the Faculty of Fine Arts and professor in

TURN. Along with participating artists and relevant members of partner facilities

the Department of Inter-media Art, Tokyo University of the Arts) | Project Director: Tsukasa

and communities, as well as invited special guests from different fields, we consider

Mori (Project Coordination Division Program Director, Arts Council Tokyo) | Organized by:

TURN from a variety of diverse perspectives.

Tokyo Metropolitan Government, Arts Council Tokyo (Tokyo Metropolitan
Foundation for History and Culture), the nonprofit organization Art s Embrace, Tokyo

University of the Arts

Overseas Programs
In collaboration with cultural and arts organizations both domestic and overseas,
TURN expands its practices overseas. Participating artists interact with welfare
facilities and local communities using traditional techniques, in each country,
developing exhibitions, workshops or performances.
［e.g. TURN in HAVANA,TURN in TUCUMAN, BIENALSUR, etc.］

TURN NOTE
Words for TURN 2019

March 19, 2020

Editorial Supervisor: Tsukasa Mori (Project Director of TURN, Arts Council Tokyo)
Editor: Yuki Tamura (the nonprofit organization Art s Embrace),
Maria Hata (Arts Council Tokyo)
Editorial Cooperator: the nonprofit organization Art s Embrace［Eriko Amo,
Kanako Iwanaka, Yasuhiro Shimizu, Makoto Tamaoki, Takuto Higashino, Makoto Higashino,,
Misako Murakata, Kaori Motojima, Marina Yamaguchi, Laila Cassim］
Arts Council Tokyo［Yukari Araki］
Design: Genki Abe
Translation: Office Miyazaki
Printing: Yamada Photo Process

Published by: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture
Kudan First Place 8F, 4-1-28, Kudankita, Chiyoda-ku, Tokyo 102-0073
Tel: 03-6256-8435 / Fax: 03-6256-8829
Email: info@turn-project.com
URL: www.artscouncil-tokyo.jp

TURN official site: https://turn-project.com©2020 Arts Council Tokyo,
Tokyo Metropolitan Foundation for History and Culture
All rights reservedAbout Tokyo Tokyo FESTIVAL ...
Tokyo Tokyo FESTIVAL is an initiative that will see a variety of cultural
programs unfold in 2020 when the Olympic and Paralympic Games will takeplace in Tokyo, promoting Tokyo s appeal as a city of arts and culture.